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3. Picasso painting the work of Velázquez he admired
he gave his Meninas a life of their own ...

4. Art in Detail
The inhabitants of the Museu Picasso
Las Meninas, after Velázquez, La Californie, August 17, 1957

8. The Maids of Honor, Las Meninas, after Velázquez, is the first, largest, and most elaborate of the series,
and is the most faithful to the vertical composition created by Velázquez.

9. PICASSO, Pablo
The Maids of Honor, Las Meninas, after Velázquez
Les Ménines, vue d’ensemble, d’après Velázquez
La Californie, August 17, 1957
Oil on canvas, 194 x 260 cm
Museu Picasso, Barcelona

13. All of the figures from the old master’s canvas are present, playing the same roles
and occupying similar positions.

15. VELÁZQUEZ, Diego Rodriguez de Silva y
Las Meninas or The Family of Philip IV
1656-57
Oil on canvas, 318 x 276 cm
Museo del Prado, Madrid

17. Diego Velázquez:
Self-portrait of the painter, who included himself in a scene of the life of the court,
in an innovative gesture in the case of Velázquez
and
as a vindication of the importance of the artist, in the case of Picasso,
who painted him as the more complex character and the biggest in size of the work.

23. María Agustina Sarmiento de Sotomayor:
One of the two meninas.
She bends down, offering a little jug to the princess, in a typical gesture of the palace.

28. Felipe IV and his wife Mariana of Austria:
The King and Queen appear reflected in a mirror at the back of the room.
There are various theories about the incorporation of the monarchs:
they were entering the room in the same moment
or that they were posing for the portrait and that this was the scene that was developing in front of them.

33. Margaret Theresa of Spain, Infanta:
Is the main figure of the work of Velázquez, and the first personage and the most repeated in Picasso’s versions.
In 1666, at the age of 15 years old, she married and as empress moved to Vienna, capital of the Empire,
where she died at the age of 21 years old while giving birth to her fourth child

38. José Nieto Velázquez, chamberlain:
In the painting he is placed in front of an open door and it doesn’t remain defined whether he’s entering
or leaving the room.
Picasso takes on the ambiguity of the gesture, and turns him into a shadow which is present
in the majority of the works.

43. Isabel de Velasco:
In the work of Velázquez in an attitude of curtsying; a gesture that Picasso examined in various of his versions.

48. Marcela de Ulloa:
person charged with watching over and taking care of the maidens from around the Princess Margarita.
Is conversing with another character half in shadow, a unidentified guardadamas (bodyguard).
The dress of the lady was often interpreted as that of a nun.
Picasso, loyal to his firm anticlericalism, represents her and her interlocutor in an almost humoristic way.

53. Mari Bárbola (María Bárbara Asquín):
The royal court jester, an achondroplastic dwarf of German origin.
The figure of Mari Bárbola is sketched and simplified and the characteristic features of her disorder are represented
by Picasso as a series of lines and dots very close together in the centre of the circle that represents her face.

58. Nicolasito Pertusato:
An Italian dwarf of noble origin.
In the painting by Velázquez he is situated in the foreground,
next to a mastiff dog with which he seems to be playing with, with his foot.
In the Picassian approach, this figure maintains a playful gesture,
but it is now completely simplified as an black outline on a white foreground.

63. Solomon, the mastiff dog:
is also a character in itself.
In the Picassian approach, the magnificent animal presented by Velázquez is substituted by Lump, the dachshund.

70. Art in Detail_The inhabitants of the Museu Picasso, Las
Meninas, after Velázquez, La Californie, August 17, 1957
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71. During the summer of 1957, Picasso turned the third floor of La Californie, his house in Cannes
in the South of France, into a studio. In this studio, from August 17 through December 30, 1957, he worked on a
large series of canvases inspired by Diego Velázquez’s masterpiece Las Meninas ...
“... little by little, I would paint my Meninas which would appear detestable to the professional copyist;
they wouldn’t be the ones he would believe he had seen in Velázquez’s canvas, but they would be “my” Meninas “.
Pablo Picasso

72. Pablo Picasso: Les Ménines de Velasquez, Vue d’ensemble, 17 aout 1957 Museu Picasso Barcelone
Le tableau de Vélasquez, « Les Ménines », préoccupait Picasso depuis longtemps.
C'est un tableau-piège, et cela devait exciter prodigieusement Picasso. Du 17 août au 30 décembre 1957, il en
exécute cinquante-huit variantes.
Dans cette version du tableau de Vélasquez, tous les éléments s'y trouvent dans une atmosphère monochrome
bleu gris acier qui désarticule et restructure la pièce où la lumière entre à flots.
Le peintre, à gauche, est devenu une sorte de totem chevelu, barbichu et moustachu;
au fond il y a la silhouette du courtisan en cape qui s'en va par une porte ouverte;
à l'extrême droite, au premier plan, une sorte d'ectoplasme cerné d'une arabesque et son chien (le teckel Lump).
De gauche à droite, Picasso a de plus en plus simplifié les figures.
L'essentiel de l'œuvre du Prado est respecté, et seuls les rapports plastiques sont modifiés par le format, en
largeur chez Picasso alors que chez Vélasquez il est en hauteur.
Picasso a travaillé le langage pictural, non sur la réalité, un événement quotidien ou un mythe de son époque mais
en démontant le mécanisme du tableau de Vélasquez.
Il a isolé un personnage ou un groupe, l'a restructuré, a joué avec les formes, a introduit des relations. Comme s'il
avait ouvert une montre et étalé les rouages sur la table.